Art and Architecture in Italy 1600 to 1750

Total Page:16

File Type:pdf, Size:1020Kb

Art and Architecture in Italy 1600 to 1750 RUDOLF WITTKOWER ART AND ARCHITECTURE IN ITALY 1600 TO 1750 PUBLISHED BY PENGUIN BOOKS CONTENTS LIST OF FIGURES XI LIST OF PLATES X1U FOREWORD XXI Part One The Period of Transition and the Early Baroque circa 1600-circa 162$ 1. ROME: SIXTUS V TO PAUL V (1585-1621) I The Council of Trent and the Arts - The Church and the Reformers - The 'Style Sixtus V and its Transformation - Paul V and Cardinal Scipione Borghese as Patrons - Caravaggios and Annibale Carracci s Supporters - The new Churches and the new Iconography - The Evolution of the 'Genres' 2. CARAVAGGIO 21 3. THE CARRACCI 31 4. CARAVAGGIO'S FOLLOWERS AND THE CARRACCI SCHOOL IN ROME 42 The Caravaggisti - The Bolognese in Rome and Early Baroque Classicism 5. PAINTING OUTSIDE ROME 55 Bologna and Neighbouring Cities 56 Florence and Siena 59 Milan 61 Genoa 64 Venice 65 Conclusion 67 6. ARCHITECTURE AND SCULPTURE 69 Architecture 69 Rome: Carlo Maderno (1556-1629) - Architecture outside Rome Sculpture 83 Rome - Sculpture outside Rome vii CONTENTS Part Two The Age of the High Baroque circa 1625-circa 167 s 7. INTRODUCTION 89 Seicento Devotion and Religious Imagery - Rhetoric and Baroque Procedure - Patronage 8. GIANLORENZO BERNINI 96 Introduction 96 Sculpture 97 Stylistic Development - Sculpture with One and Many Views - Colour and Light - The Transcending of Traditional Modes - New Iconographical Types - The Role of the 'Concetto' - Working Procedure Painting 112 Architecture 114 Ecclesiastical Buildings - Secular Buildings - The Piazza of St Peter's 9. FRANCESCO BORROMINI (1599-1667) I3O S. Carlo alle Quattro Fontane - S. Ivo della Sapienza - S. Giovanni in Laterano, S. Agnese, S. Andrea delle Fratte, and Minor Ecclesiastical Works - The Oratory of St Philip Neri - Domestic Buildings - The Collegio di Propaganda Fide 10. PIETRO DA CORTONA (1596-1669) I52 Introduction 152 Architecture ' 153 The Early Works - SS. Martina e Luca - S. Maria della Pace, S. Maria in Via Lata, Projects, and Minor Works Painting and Decoration 162 The Early Works - The Gran Salone of the Palazzo Barberini - The Frescoes of the Palazzo Pitti and the Late Work 11. 'HIGH BAROQUE CLASSICISM': SACCHI, ALGARDI, AND DUQUESNOY 169 Andrea Sacchi (1599-1661) 169 The Controversy between Sacchi and Cortona Alessandro Algardi (i 595-1654) 173 Francesco Duquesnoy (1594-1643) 177 12. ARCHITECTURAL CURRENTS OF THE HIGH BAROQUE l8l Rome 181 Carlo Rainaldi - Martino Longhi the Younger, Vincenzo della Greca, Antonio del Grande, and Giovan Antonio de' Rossi Architecture outside Rome 189 Baldassare Longhena - Florence and Naples: Silvani and Fanzago viii CONTENTS 13. TRENDS IN HIGH BAROQUE SCULPTURE 200 Rome 200 The First Generation - The Second Generation - Tombs with the Effigy in Prayer - Minor Masters of the later Seventeenth Century - Bernini's Studio and the Position of Sculptors in Rome Sculpture outside Rome 211 14. HIGH BAROQUE PAINTING AND ITS AFTERMATH 213 Rome 213 Baroque Classicism; Archaizing Classicism; Crypto-Romantkism - The Great Fresco Cycles - Carlo Maratti (1625-1713) Painting outside Rome 222 Bologna, Florence, Venice, and Lombardy - Genoa - Naples Part Three Ldte Baroque and Rococo circa 1675-circa 1750 15. INTRODUCTION 235 16. ARCHITECTURE 240 Introduction: Late Baroque Classicism and Rococo 240 Rome 244 Carlo Fontana (1634-1714) - The Eighteenth Century Northern Italy and Florence 252 Naples and Sicily 258 17. ARCHITECTURE IN PIEDMONT 267 The Prelude 267 Guarino Guarinl (1624-83) 268 Filippo Juvarra (1678-1736) 275 Bernardo Vittone (1704/5-70) 282 18. SCULPTURE 288 Rome 288 Typological Changes: Tombs and Allegories Sculpture outside Rome 296 ix CONTENTS 19. PAINTING 304 Introduction 304 Naples and Rome 305 Florence and Bologna 309 Northern Italy outside Venice 312 Venice 314 Sebastiano Ricd and Piazzetta - Pellegrini, Amigoni, Pittoni, Balestra - Giambattista Tiepolo (1696-1770) The Genres 321 ' Portraiture - The Popular and Bourgeois Genre - Landscape, Vedute, Ruins d> LIST OF ABBREVIATIONS 331 NOTES 333 BIBLIOGRAPHY 389 The Plates INDEX ' 411 X.
Recommended publications
  • Falda's Map As a Work Of
    The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: https://www.tandfonline.com/loi/rcab20 Falda’s Map as a Work of Art Sarah McPhee To cite this article: Sarah McPhee (2019) Falda’s Map as a Work of Art, The Art Bulletin, 101:2, 7-28, DOI: 10.1080/00043079.2019.1527632 To link to this article: https://doi.org/10.1080/00043079.2019.1527632 Published online: 20 May 2019. Submit your article to this journal Article views: 79 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Falda’s Map as a Work of Art sarah mcphee In The Anatomy of Melancholy, first published in the 1620s, the Oxford don Robert Burton remarks on the pleasure of maps: Methinks it would please any man to look upon a geographical map, . to behold, as it were, all the remote provinces, towns, cities of the world, and never to go forth of the limits of his study, to measure by the scale and compass their extent, distance, examine their site. .1 In the seventeenth century large and elaborate ornamental maps adorned the walls of country houses, princely galleries, and scholars’ studies. Burton’s words invoke the gallery of maps Pope Alexander VII assembled in Castel Gandolfo outside Rome in 1665 and animate Sutton Nicholls’s ink-and-wash drawing of Samuel Pepys’s library in London in 1693 (Fig. 1).2 There, in a room lined with bookcases and portraits, a map stands out, mounted on canvas and sus- pended from two cords; it is Giovanni Battista Falda’s view of Rome, published in 1676.
    [Show full text]
  • Giovanni LAZZONI by Cristiano Giometti - Biographical Dictionary of Italians - Volume 64 (2005)
    Giovanni LAZZONI by Cristiano Giometti - Biographical Dictionary of Italians - Volume 64 (2005) The founder of a family of Carrara sculptors whose activity took place mainly in Tuscany, Rome and the Duchy of Modena from the second half of the seventeenth century, Lazzoni was born in Carrara in 1618 by Andrea (Campori). His debut at the service of the Este can be traced back with certainty to 17 November. 1645 ( Ducale palazzo ... ), when he began to receive a commission for his participation in the decorative enterprise of the Ducal palace in Sassuolo. The polyphonic choir of the workers and plastics gathered for the occasion was cleverly coordinated by Luca Colombi, who assigned to Lazzoni the execution of the four stucco statues placed in the niches of the ground floor atrium of the palace depicting the Seasons . In these same years we can also trace the two allegories of Nobility and Glory placed at the sides of the Este coat of arms placed above the illusionistic perspective frescoed by Angelo Michele Colonna and Agostino Mitelli on the entrance staircase of the same building (Riccomini). The last payment to Lazzoni for this series of interventions is recorded on the date of 3 April. 1647 ( Ducal Palace ... ); and it is very probable that, in a short span of time, he had moved to Rome, almost certainly recalled by the enticing possibilities of work offered by the numerous papal factories promoted in view of the Jubilee year. Starting from the spring of 1647, in fact, the plastic decoration of the pillars of the nave of St.
    [Show full text]
  • Giovanni Battista Braccelli's Etched Devotions Before the Vatican
    Giovanni Battista Braccelli’s Etched Devotions before the Vatican Bronze Saint Peter Erin Giffin, Ludwig-Maximilians-Universität München, Germany IN THE MID-SEVENTEENTH CENTURY, the artist Giovanni Battista Braccelli (ca. 1584–1650) created an etching of the bronze Saint Peter cult statue at the Vat- ican surrounded by devotees and votives (fig. 1).1 This previously unpublished print, titled The Bronze Saint Peter with Votives, offers a detailed representation of the devotional object in its early modern location (figs. 2–3): against the northeast pier of the crossing of Saint Peter’s Basilica, where Pope Paul V Borghese (r. 1605– 21) had installed it on May 29, 1620 (still in situ today). The print details a group of early modern visitors gathered around the sculpture—well-dressed men, women, and children to the left of the composition, and an assortment of humbler lay and religious personages to the right. At the center, two pilgrims with walking sticks in hand and broad-brimmed hats slung over their shoulders approach the foot of the sculpted Saint Peter with great reverence. The first of the two bows down to touch the top of his head to the underside of the sculpted foot in an act of extreme humility, bracing himself against the sculpture’s base as the crowd looks on with approval. Emanating up from the devotees, a series of ex-voto offerings blanket the flanking pilasters of Saint Peter’s. One can make out the barest references of standard votive imagery and objects on the sketchily rendered plaques—kneel- ing figures and canopied beds before floating apparitions—accompanied by Contact Erin Giffin at Ludwig-Maximilians-Universität München (erin.giffin@kunstgeschichte .uni-muenchen.de).
    [Show full text]
  • Raphael in Rome. Style, Technique, Conservation
    Raphael in Rome. Style, technique, conservation The restoration of the frescoes carried out in the This publication is the result of the skilful work Vatican’s Stanza della Segnatura and Stanza di Eliodoro, undertaken by several specialists, within the Vatican and on the Madonna del Divino Amore in the Capodimonte outside. Museum in Naples, and on La Perla and Lo Spasimo in the Prado in Madrid, and the programme of technical The studies proposed at the 2014 conference are now investigations which has run alongside this work, has available for the many interested people who were made a substantial body of documentary material unable to attend the meeting or who wish to refresh available. New academic hypotheses formulated on the RRaphael in Rome their knowledge of what was said at the time. basis of these materials are here discussed by specialists in problems concerning Raphael and early sixteenth- SStyle, technique, conservation The editors of this work have been able to harmonize century Italian painting. contributions that present different aspects of Raphael, The fruits of the dialogue between art historians and the master of the Vatican Rooms, into a coherent text, restorers, the texts and the sensational photographic important for studies on Raphael. documentation that we present in this volume, allow us to look with new eyes and from a previously unexplored Barbara Jatta angle – but one which in some cases, as we have seen, boasts very early precedents – at the grand unfolding of stylistic development and inspired inventiveness in Raphael’s technical researches. Barbara Agosti and Silvia Ginzburg ISBN 978-88-8271-395-9 EDIZIONI MUSEI VATICANI € 59,00 Foreword Barbara Agosti, Silvia Ginzburg In the papers developed for this volume, restorers and art historians propose the results of conservation and research focused on works that represent some of the most significant stages in Raphael’s Roman period, beginning in 1508 and concluding with his death in 1520.
    [Show full text]
  • The Painters Voyage of Italy : in Which All the Most Famous Paintings of The
    'f - '/-'«' ';/-.€ t£f, a. ^ 0^ O . - y: DireSions to place the Sculptures. 1. The Frontifpiece before the Title, 2. The Map of Italy before the Table, 5. Michael Angelo. Pag. 17. 4. Titian. p. 50. 5. Paulo Veronefe, p. ii2. 6. Pietro de Cortona, p;ii7. 7. Raphael Urbin. P«i59» A Licenfed, Decemb.6. .678. Koger VEftrange. THE PAINTERS VOYAGE I T A L Y. IN WHICH All the famous Paintings of the moft emi- nent Mafters are particularifed, as they are preferved in the feveral Cities of IT ALT, Chiefly relating to Their Altar-pieces, and luch other Paint- ings as arc Ornamental in their Churches. And Alfo Many choice Pidiures, kept as Jewels, in the Palaces of particular perfons. Whereijnto is added That excellent Colledion of Signior 5EPr.4LE,inhisCIoret at MILAN. Iliailraced with The Heads of forae of the moft renowned Painters. Written Originally in- //fl/i<j?z by Giacomo Barri ^Venetian Painter. Englifhed by W.L, of Lincolu5-Imne,Gent. - L N:pON, Printed for Tho, Flejhtr^ at the Angel and Crown in S. Fauls Church-yard. i6yp. -^ T O The Right Honourable THOMAS, LordBELLASIS, Vifcount FAVLCONBERG. My Lord, WHen I had the ho- nour to attend your Lordjhip in your Embajfy to the States of Venice^ it was my fortune A 4 there ^ The Epiftle Dedicatory. there to meet with a [mail Piece entitukd Viaggio Pittorefco d Italia, the Tas\ being ofno very great difficulty^ and alto- gether agreeable to my, own in- (lination^ I have gratified pty [elf- and I hop not difobliged ingenious Artifls in a faithful rendition of it into Engliflij which I have done the rather hecaufe the Boo\ ir rarely to he found in Italy, and 1 can- not remember I have feen any Original in England but that which is in my own hands.
    [Show full text]
  • Cbc Conservazione Beni Culturali
    DIPINTI SU TELA CBC CONSERVAZIONE BENI CULTURALI La Cooperativa CBC Conservazione Beni Culturali si è costituita nel 1977 tra restauratori provenienti dai corsi dell'Istituto Centrale del Restauro. E' attualmente formata da diciotto soci, il cui curriculum di studio è consultabile su questo sito. Opera sia per Enti pubblici (Soprintendenze regionali, Comuni, Musei Civici, etc.), che per privati, anche come strutture od Enti, sia in Italia che all’estero. Nel seguente curriculum si dà conto dettagliatamente dell'attività svolta nel settore specifico, suddivisa e ordinata per anno di esecuzione. Presso la sua sede laboratorio sono consultabili le documentazioni sia scritte che fotografiche dei lavori svolti, di cui è stata consegnata copia ai committenti; alcuni lavori sono inoltre stati oggetto di approfondimento e pubblicazione. Contatti Sede legale e laboratorio in Laboratorio in Via dei Priori, 84 Viale Manzoni, 26 - 00185 Roma 06123 Perugia Tel: 06-70.49.52.82 fax: 06-77.200.500 Tel: 075-57.31.532 Mail: [email protected] Mail: [email protected] Sito: www.cbccoop.it FB: @cbccoop Dati Amministrativi Codice Fiscale e numero d’iscrizione al Registro delle Imprese di Roma: N. 02681720583 P.IVA: N. 01101321006 – R.E.A. di Roma: N. 413625 del 12.03.1977 Albo Provinciale delle Imprese Artigiane: N. 133916 del 05.06.1980 Albo delle Società Cooperative al n. A125967 del 23/03/2005 Attestazione di qualificazione alla esecuzione dei lavori pubblici n. 7969/58/01 rilasciata dalla ITALSOA SpA per la Categoria OS2A Classifica IV. DIPINTI SU TELA
    [Show full text]
  • Alessandro Algardi Christ Resurrected
    Alessandro Algardi Christ Resurrected Alessandro Algardi (Bologna, 1598 - Rome, 1654) Christ Resurrected Terracotta, height 52 cm Provenance: Private collection, Italy; Heim Gallery, London; Arthur M. Sackler collection, New York his fine and moving terracotta was first simple planes’. Dr. Montagu expressed some recognized by Dr. Jennifer Montagu and criticism to the handling of the torso, a point Twas subsequently published for the first also taken up by Avery, which, in our opinion, time by Dr. Charles Avery in the 1981 Sackler has wrongly caused some concern about the au- collection exhibition catalogue, making use of tograph nature of the torso, a question which notes by Montagu for her (then) forthcoming needs to be addressed. These problems seem publication on Algardi. to arise principally from the condition of the sculpture, lacking both arms: Christ’s raised Dr. Montagu’s attribution to Algardi was made right arm is severed at the shoulder but a close on purely stylistic grounds, and, regarding the inspection of this area suggests that at least head, she commented on ‘…the flow of the hair, some of the clay was cut before firing, implying partly modelled freely in waving masses, partly that it was modelled seperately; the left missing incised with the modelling tool, and the sweet left arm is evidentally the result of an accidental expression in a face constructed in large and break. The head and torso are divided just below the shoulders and this curving division is relatively even, suggesting that the join was not acciden- tal. Probably Avery’s proposal that the head and shoulders were the first part to be modelled, ‘…as a study of facial features and expression, and, as the sculptor’s conception developed, the torso was afterwards modelled to fit on to it’, is in fact correct.
    [Show full text]
  • Eckhard Leuschner Roman Virtue, Dynastic Succession
    Originalveröffentlichung in: Studia Rudolphina 6 (2006), S. 5-25 ECKHARD LEUSCHNER ROMAN VIRTUE, DYNASTIC SUCCESSION AND THE RE-USE OF IMAGES: CONSTRUCTING AUTHORITY IN SIXTEENTH- AND SEVENTEENTH-CENTURY PORTRAITURE A hallmark of seventeenth-century portraiture commander, with the modern portrait head was the simultaneous existence of highly of Alessandro added by the sculptor Ippolito original artistic solutions and, alongside Buzio.1 Alessandro's statue was not the last this, an unprecedented number of imitations, of these assemblages of ancient and modern replications and copies. While the increase in parts to be displayed in the room. In 1630, for the latter can partly be explained by technical example, the city's governing council decreed innovations in the production and diffusion that a similar monument be erected to the of every kind of imagery, some of the most recently deceased general Carlo Barberini (Fig. fascinating and, at the same time, provoking 1). On this occasion, another classical Roman cases of images being constantly re-used were torso was joined to a portrait head produced by motivated by more complex reasons, some of Gianlorenzo Bernini, while Alessandro Algardi which will be discussed in this paper. I will contributed the arms and legs.2 explore examples of both material re-use, i.e. Why did the city of Rome order this kind the integration of physical parts of the old of patchwork imagery when it could have had work into the new, and of the use of forms or complete statues made by Buzio, Bernini or compositions by way of copying and imitation. Algardi? The most obvious explanation, of The first part of the text analyses the recurring course, is time and money: with the largest references to visual and literary models of segment of the sculpture already supplied "Roman" virtue and dynastic succession in in the form of the classical torso, the artists the self-representations of early-seventeenth- had less work to do and could charge only a century nobility.
    [Show full text]
  • Step + Don Do Rome
    Step + Don do Rome February 2, 2018 - February 5, 2018 Friday ColosseumB8 • Piazza del Colosseo, 00184 February 2, 2018 Rome Ciampino Airport F11 • Roma Ciampino Airport (Giovan Battista Pastine Airport), Via Appia Nuova B&B La Terrazza sul Colosseo 1651, 00040 Rome Ciampino, Italy B9 • Via Ruggero Bonghi 13/b, 00184 Rome Basilica of Saint Mary Major B9 • Piazza di S. Maria Maggiore, 42, 00100 Roma RM, Italy Palazzo delle Esposizioni B8 • Via Nazionale 194, Rome, Latium, 00184, Italy Church of St Andrea della Valle B8 • Corso del Rinascimento Rome, Italy 00186 Trevi Fountain B8 • Piazza di Trevi, 00187 Roma, Italy Caffè Tazza d'Oro B8 • 84 Via degli Orfani, 00186 Pantheon B8 • Piazza della Rotonda, 00186 Roma, Italy Freni e Frizioni B8 • Rome Trastevere B8 • Rome Area sacra dell'Argentina B8 • Rome Venice Square B8 • Rome Monument to Vittorio Emanuele II B8 • Piazza Venezia, 00187 Roma, Italy Trajan's Column B8 • Via dei Fori Imperiali, Roma, Italy Imperial Forums B8 • Largo della Salara Vecchia 5/6, 9 00184 Roma, Italy Forum of Augustus B8 • Via dei Fori Imperiali, Rome, Latium, 00186, Italy Forum of Trajan B8 • Via IV Novembre 94, 00187 Roma, Italy Saturday Sunday February 3, 2018 February 4, 2018 B&B La Terrazza sul Colosseo B&B La Terrazza sul Colosseo B9 • Via Ruggero Bonghi 13/b, 00184 Rome B9 • Via Ruggero Bonghi 13/b, 00184 Rome Colosseum Navona Square B8 • Piazza del Colosseo, 00184 B8 • Piazza Navona, 00186 Rome, Italy Imperial Forums Pantheon B8 • Largo della Salara Vecchia 5/6, 9 00184 Roma, Italy B8 • Piazza della Rotonda,
    [Show full text]
  • WISHBOOK-2019.Pdf
    FRONT COVER Crivelli Madonna with Child - Carlo Crivelli XV - XVI Century Art Department pages 136 - 139 Contents 3 4 Letter from the President of the Vatican City State 94 Coronation of the Virgin with Angels and Saints 6 Letter from the Director of the Vatican Museums 98 Enthroned Madonna and Child Letter from the International Director of the 102 Saints Paola and Eustochium 8 Patrons of the Arts 106 Stories of the Passion of Christ 110 Icons from the Tower of Pope John XXIII 10 BRAMANTE COURTYARD Long-term Project Report 126 XV – XVI CENTURY ART 16 CHRISTIAN ANTIQUITIES 128 Tryptich of the Madonna and Child with Saints 18 Drawn Replicas of Christian Catacombs Paintings 132 Apse of the Church of San Pellegrino 22 GREEK AND ROMAN ANTIQUITIES 136 Crivelli Madonna with Child 24 Chiaramonti Gallery Wall XlV 140 Madonna and Child with Annunciation and Saints 30 Ostia Collection: Eleven Figurative Artifacts 144 XVII – XVIII CENTURY ART AND TAPESTRIES Ostia Collection: Two Hundred and Eighty-three 34 Household Artifacts 146 Noli Me Tangere Tapestry 38 Statue of an Old Fisherman 150 Plaster Cast of the Bust of Pope Pius VII 42 Polychrome Mosaic with Geometric Pattern 154 Two Works from the Workshop of Canova 162 Portrait of Pope Clement IX 46 GREGORIAN ETRUSCAN ANTIQUITIES 166 Embroidery Drawings for Papal Vestments 48 Krater, Kylixes and Perfume Jars 52 Gold Necklaces from the Regolini-Galassi Tomb 170 XIX CENTURY AND CONTEMPORARY ART 56 Astarita Collection: Thirty-three Figurative Vases 172 Clair de Lune 60 Ceremonial Clasp from the Regolini-Galassi Tomb 176 Model of Piazza Pius XII 64 Amphora and a Hundred Fragments of Bucchero 180 HISTORICAL COLLECTIONS 68 DECORATIVE ARTS 182 Two Jousting Shields 70 Rare Liturgical Objects 186 Drawing of the Pontifical Army Tabella 76 Tunic of “St.
    [Show full text]
  • Visible Spirit
    Visible Spirit The Art of Gianlorenzo Bernini Vol. I Irving Lavin The Pindar Press London 2007 Published by The Pindar Press 40 Narcissus Road London NW6 1TH · UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 978-1-899828-39-5 (hb) ISBN 978-1-904597-54-4 (pb) Printed by Estudios Gráficos ZURE 48950 Erandio Spain This book is printed on acid-free paper Contents Foreword i I Review of Rudolf Wittkower, Gian Lorenzo Bernini. The Sculptor of the Roman Baroque 1 II Bernini and the Theater 15 III Bozzetti and Modelli. Notes on sculptural Procedure from the Early Renaissance through Bernini 33 IV Bernini and the Crossing of Saint Peter’s 62 V Five New Youthful Sculptures by Gianlorenzo Bernini and a revised Chronology of his Early Works 186 VI Bernini’s Death 287 VII Afterthoughts on “Bernini’s Death” 354 VIII Letter to the Editor on a review by Howard Hibbard of Bernini and the Crossing of St. Peter’s 371 IX Calculated Spontaneity. Bernini and the Terracotta Sketch 376 X On the Pedestal of Bernini’s Bust of the Savior 393 XI High and Low before their Time: Bernini and the Art of Social Satire 397 XII Bernini’s Memorial Plaque for Carlo Barberini 469 XIII Bernini’s Baldachin: Considering a Reconsideration 480 XIV Bernini’s Bust of Cardinal Montalto 496 XV Bernini’s Cosmic Eagle 509 XVI Bernini’s Image of the Sun King 524 Lavin XV. Revised:Lavin 2 Chap 19 13/8/07 06:54 Page 1 XV Bernini’s Cosmic Eagle T is a commonplace of the literature on Bernini that he was a supreme Irealist.
    [Show full text]
  • Bernini's 'Animas' Were Originally Meant to Be Mythological, Not Religious, Sculptures 19 February 2016
    Bernini's 'Animas' were originally meant to be mythological, not religious, sculptures 19 February 2016 of a Christian soul's personification enjoying the pleasures of the Heaven or tormented by the punishment received in Hell (as believed until now), but they really are mythologically themed sculptures: a nymph and a satyr, respectively. This revelation came from David García Cueto, Arts History professor at the University of Granada (UGR), in an article published in the renowned Sculpture Journal magazine, belonging to the University of Liverpool (United Kingdom). In his article, García Cueto comes to this astonishing conclusion about these two renowned sculptures that can be seen at the Spanish Embassy in front of the Holy See (Rome). García Cueto has propossed that the 'Animas' are mythologically themed sculptures based on unpublished documents of that time coming from the Archivio Storico Capitolino (the Roman Historical Archives) in Rome. "This revelation opens the way to a new interpretation of his work, absent in Bernini's huge historiography until now", the researcher stresses. Bernini's 'Anima dannata', kept at the Spanish Embassy The first conclusions of this research were in front of the Holy See. Credit: Credit: CAROLINA published in February 2015 in a conference held at MARCONI Museo Nacional del Prado (Madrid, Spain) on the occasion of the exhibition 'Bernini, Roma y la Monarquía Hispánica, siglos XVI-XVIII' David García Cueto, Arts History professor at the (HAR2014-52061-P) [Bernini, Rome and the University of Granada, affirms that these two Spanish Monarchy, XVI-XVIII centuries]. marble heads are not a representation of a Christian soul's personification enjoying the Gian Lorenzo Bernini (1598-1680) was an Italian pleasures of the Heaven or tormented by the sculptor, architect and painter.
    [Show full text]